Quatschmacher

That’s a pretty penny. It’s going to have to be absolutely astounding to justify parting with that kind of money.

Sadly I’ve not had them side by side so can only judge from memory. The ON is probably buzzier. In terms of bottom end, I think the Valeton has a bit more (but not as much as the Octabvre). For under £40 the Valeton is a nice pedal. If using with a filter I’d open the tone right up and use the separate filter to cut the highs. The ON isn’t as flexible as the Cog T-70 as that particular pedal can switch between three different user-defined settings at the press of a footswitch.

You should totally get a Mastotron anyway. It doesn’t give more, it gives something else. I don’t think I’d be without mine now. The OC-10 is pretty cool sounding too. I think I’ll probably end up buying another Octo Nøjs too.

Yep. For well under £100 this is awesome. I can’t say with absolute authority if it truly nails the OC-2 sound as I’ve never played one. I’ve only ever heard recordings of it. It sounds spot on compared to those though.

Undoubtedly by me. I had an Octo Nøjs and loved it. I sold it recently and am kind of regretting it as the parallel gated fuzz in it is brilliant. It tracks pretty well and is much better on open strings (other than low E) than the other October’s I’ve had, including the MXR, which is still the best-tracking octaver I’ve played; the Red Witch Zeus came a close second.

No, but I posted some clips of this last year.

This may be a digital-only trick though.

I wonder if that’s a mod Tom at Cog might be able to do.

Nicolas bought my Doom. Very straightforward transaction with prompt payment and clear, friendly communication. Many thanks!

Best to post this in the marketplace wanted ads instead. Also it’s “Xerograph” with an “r” not an “n” - it won’t turn up in searches if spelled incorrectly.

The Doom has no gating. It’s quite middy compared to the Mastotron and is quite high gain past 9 o’clock. It’s a dynamic octave fuzz which responds to playing dynamics. Playing around and above the 12th fret yields an octave up overtone, moreso when rolling off the bass’s tone control. I’m finding it quite pleasing running my octave into the Doom, with a 60-40 wet-dry mix and then putting the Mastotron with subs on 3 in parallel to that. That tends to drive the envelope filter better. I’ve been running that all into a gating pedal to eliminate gain noise and high frequency noise from having the envelope in down seeep mode.